Zitat des Tages von Khaled Hosseini:
My parents were reasonably affluent in Kabul. In the States, we were on welfare. My mom became a waitress, and my dad became a driving instructor. That part of the American immigrant experience applies to people of any nationality.
My books never go where I think they're going.
Kabul was very popular with the hippies in the Sixties and Seventies. It was very quiet and peaceful.
You have to be able to interact with people whose politics you disagree with.
Read the kinds of things you want to write; read the kinds of things you would never write. Learn something from every writer you read.
I - and, I suspect, millions of Americans like me, Republicans and Democrats alike - couldn't care less about Obama's middle name or the ridiculous six-degrees-of-separation game that is the William Ayers non-issue.
Syria's neighboring countries cannot and should not carry the cost of caring for refugees on their own. The international community must share the burden with them by providing economic aid, investing in development in those countries, and opening their own borders to desperate Syrian families looking for protection.
I hear from non-Afghan immigrants - Africans, Indians, Pakistanis, Arabs in France - all the time. These people have had to redefine their lives, which is what my family went through when we came to the U.S. in 1980.
I don't outline at all; I don't find it useful, and I don't like the way it boxes me in. I like the element of surprise and spontaneity, of letting the story find its own way.
I've learned things about the craft of writing and about structuring a book and about character development and so on that I've just learned on the fly.
I'm glad I wrote them when I did because I think if I were to write my first novel now, it would be a different book, and it may not be the book that everybody wants to read. But if I were given a red pen now, and I went back... I'd take that thing apart.
I have this almost pathological fear of boring the reader.
Ultimately, my books are not about the politics, although the toil and the struggle and the wars in Afghanistan have a significant impact on the lives of my characters.
It's a very nice kind of quasi-fame being a writer, because you remain largely anonymous and you can have a private life, which I really cherish. I don't like to be in the public light all that much. I don't crave the whole fame thing at all.
Write the story you need to tell and want to read. It's impossible to know what others want, so don't waste time trying to guess.
Nothing happens in a vacuum in life: every action has a series of consequences, and sometimes it takes a long time to fully understand the consequences of our actions.
Whatever the readers feel when they're reading my books, I feel it tenfold when I'm writing it.
I'm fascinated by the way early experiences haunt and revisit you, remain present in your life for decades and decades - they can even shape who you ultimately become.
I grew up in a society with a very ancient and strong oral storytelling tradition. I was told stories, as a child, by my grandmother, and my father as well.
I don't remember how I picked up 'Different Seasons,' but it was a book I read on a grave shift. I was absolutely floored by it; 'The Body,' a story about kids who go searching for a corpse in the woods, impacted me especially.
American high school culture was impenetrable to me, and very cliquey: you had the Hispanics, the African Americans, the surfer guys and the goths and the immigrants. The jocks and the surfers got the girls. By the time I'd got to grips with it, I'd graduated.
Obama's middle name differs from my last name by only two vowels. Does the McCain-Palin campaign view me as a pariah, too? Do McCain and Palin think there's something wrong with my name?
I entered the literary world, really, from outside. My entire background has been in sciences; I was a biology major in college, then went to medical school. I've never had any formal training in writing.
Afghanistan is a rural nation, where 85 percent of people live in the countryside. And out there it's very, very conservative, very tribal - almost medieval.
A doctor in a hospital told me that when the mujaheddin were fighting in the early Nineties, he often performed amputations and Caesarean sections without anesthesia because there were no supplies.
In my 20s, life seemed endless. At 49, I've had a chance to see how dark life can be, and I am far more aware of the constraints of time than when I wrote 'The Kite Runner.' I realise there is only a limited number of things I can do.
Family is so central to Afghan life that all Afghan stories are family stories. Family is something I simply can't resist because all the great themes of human life - duty, grief, sacrifice, love, envy - you find all those things within families.
I read actual physical books and have thus far avoided the electronic lure.
To me, families are puzzles that take a lifetime to work out - or not, as often is the case - and I like to explore how people within them try to connect, be it through love, duty, or circumstance.
Writing for me is largely about rewriting.
I have met so many people who say they've got a book in them, but they've never written a word.
Everyone is an ocean inside. Every individual walking the street. Everyone is a universe of thoughts, and insights, and feelings. But every person is crippled in his or her own way by our inability to truly present ourselves to the world.
You have to write every day, and you have to write whether you feel like it or not.
I have a particular disdain for Islamic extremism, and of course, in both 'The Kite Runner' and 'A Thousand Splendid Suns' that's obvious.
The difficulty of writing a second novel is directly proportional to how successful the first novel was, it seems.
One of the things novels should do is shine a light on those parts of us that are common, the fibres that connect all of us. They should convey the sense that we're all connected, coming from the same tree, sharing common roots.